This paper examines a large number of failed queries submitted to a web image search engine, including real users' search terms and written requests. The results show that failed image queries have a much higher specificity than successful queries because users often employ various refined types to specify their queries. The study explores the refined types further, and finds that failed queries consist of far more conceptual than perceptual refined types. The widely used content-based image retrieval technique, CBIR, can only deal with a small proportion of failed queries; hence, appropriate integration of concept-based techniques is desirable. Based on using the concepts of uniqueness and refinement for categorization, the study also provides a useful discussion on the gaps between image queries and retrieval techniques. The initial results enhance the understanding of failed queries and suggest possible ways to improve image retrieval systems.
This article describes an applied investigation into a concept of information visualization where data are not rendered as graphs, charts or diagrams on the screen but as a sensual experience beyond the screen in physical space. It introduces predecessors such as calm technologies and ambient displays among a number of poetic and applied examples from related backgrounds to establish the context and relevance for communication design and graphic design, and presents a current research undertaking in which the social activity of visiting a website is visualized in multiple sensorial modalities in real-time in the form of a kinetic and sensual display.
The advent of internet technology has enabled the process of memorialization of those killed in US military conflicts to keep pace with the casualties themselves and, as such, has marked a shift in both the ideology of the war memorial as symbol and the ideology-driven media use of those symbols. This article argues that a process of increasing humanization and specificity enabled by the information architecture of the internet has led to a form of `war memorial', exemplified by www.facesofthefallen.org, that emphasizes decontexualized human loss at the expense of a coherent representation of a military nature for the loss itself.
These guidelines are intended to assist Web designers, authors, and editors in their efforts to create Web pages that effectively reveal—rather than obscure or confuse—the information they are trying to present. These guidelines are also intended to be used to assist in the evaluation of existing Web sites. Of course, the design of a Web site can, to some degree, be modified by the user or by the characteristics of the browser or monitor enlisted to display it. The guidelines, consequently, acknowledge that in a very real sense, users may also assume the role of designer. The guidelines, therefore, are also intended to help users make informed decisions about how to make a display easier to use.
Literacy has always been a material, multimedia construct but we only now are becoming aware of this multidimensionality and materiality because computer technologies have made it possible for many people to produce and publish multimedia presentations.
Monitoring Order looks at two potential sources -- writings about book design and writings about visual arrangement in painting -- for helping teachers of writing think about teaching visual composition for Web pages; both sources are problematic but suggest directions for further study.
This essay examines when and why a 'safe' approach to visual design for web pages is attractive to writers and writing teachers. It considers typical reasons for choosing a 'safe' approach to designing the visual dimensions of web pages, traditional sources in print graphics and writing for safe advice about visual design, and design challenges posed by issues of a web design's stability and navigation. The essay then turns to the fact that the additional media included in a web site bring more design traditions into consideration. It discusses the differing concerns and aims that issue from visual design traditions that focus on prose graphics versus those that focus on theatrical graphics. Keeping these differences in mind, the essay ends with a consideration of the forces shaping visual rhetoric on the web.
The need to visualize data has emerged from the research field, it has been a useful tool to the study of scientific problems. However the truth is that data visualization is a great way to present data for any area dealing with information, because visually presented information is not only more appealing due to its use of pictograms and colours, but also more efficient in conveying large amounts of information. Throughout the years there have been efforts to develop a classification for these visualizations, in order to provide a better understanding of this way to present data. There are many different classifications but none of them is fully complete. In this paper it is discussed and developed a typology for online data visualization and info graphics. Such a typology will be relevant for a better understanding of what kinds of visualizations exist and in further research to better identify which elements compose a good visualization that is pleasing to the public.
Visual communication can be thought of as two intertwined parts: personality, or look and feel, and visual organization. The personality of a presentation is what provides the emotional impact —your instinctual response to what you see. Creating an appropriate personality requires the use of colors, type treatments, images, shapes, patterns, and more, to “say” the right thing to your audience. This article, however, focuses on the other side of the visual communication coin: visual organization.
Native to the Internet and personal in approach, weblogs deliver bite-sized portions of information on a daily basis to an ever expanding audience. Weblogs are the conjunctions of the Internet: the ands, the buts the ors – they add to online conversations, refute them, or provide new perspectives altogether.
In order for a Web application to be "usable", it must be understandable. It needs to communicate, and communicate effectively. When a user interacts with a Web application they have only the visual presentation (the interface) to "tell" them what the application has to offer, and how they can make use of it. As a result, designers must rely on visual communication principles to tell our audience: about the behavior, structure, and purpose of our Web applications. The better at communicating we are, the easier it is for our audience to understand our messages and intentions, and the easier it is for them to use and appreciate our Web applications.
User interface experts are often suspicious of the role of visual aesthetics in user interfaces—and of designers who insist that graphic emotive impact and careful attention to a site’s visual framework really contribute to measurable success. Underneath the arguments, I see a fundamental culture clash.
Authenticity is something which must be constructed rather than simply accruing to verbal content, and visual and other design features are an inherent, but often overlooked, factor in this construction.